Long ago in a galaxy far, far away, John Williams composed the first soundtrack for “Star Wars.” That collaboration with George Lucas  (later subtitled “A New Hope”) launched one of the most successful  space epic film series of all time.  Today, it’s hard to imagine these space odysseys where aliens and humanoids coexist with robotic droids without Williams’ thrilling symphonic scores.

On Friday, Williams’ music, famous for its big brass and sweeping strings, took the starring role, as John Morris Russell led the Cincinnati Pops in a retrospective of some of the Hollywood legend’s greatest themes. The second half of the program was entirely devoted to the “Star Wars” franchise, while the first sampled from other films, such as “Harry Potter” and “E.T.”

It was the Pops’ first performance in Music Hall following a $143 million renovation that has updated the 140-year-old building and completely reconfigured the orchestra’s home in Springer Auditorium. A multi-generational, sold-out crowd filled the hall. In the new Pops configuration, it seats nearly 2,500. (A few tickets might be available for Sunday’s show.) 

Acoustically, the orchestra’s sound was different from last week, when it was sitting on a new “thrust” stage, farther into the hall and in front of the arch. For the Pops, the musicians sat farther back, with the wind, brass and percussion sections seated behind the proscenium arch. From my seat on the balcony level, the string sound was better this week, although there were still issues of balance, clarity and lack of resonance in the hall.  (Acoustical consultants say they are still tweaking the sound.)

The Cincinnati Pops, especially under founding Pops maestro Erich Kunzel, has had a long history of recording and performing Williams’ scores. Now 85 and still a busy composer (“Star Wars: Episode IX” is slated for 2019), Williams guest-conducted his own music with the Pops at Riverbend in 2010.

Russell opened with Williams’ inventive arrangement of the National Anthem, and the flag bearers were Messer Construction workers and subcontractors who had worked on the renovation.

In a videotaped message from Los Angeles, Williams welcomed Cincinnatians to “your bright shiny new Music Hall,” and also remembered “my friend and colleague Erich Kunzel who did so much for Cincinnati.”  Russell’s program included Williams’ personal tribute to Kunzel, who died in 2009.  The piece, “Adventures of Mutt” from “Indiana Jones and the Kingdom of the Crystal Skull,” was lively and fun, with humorous licks in brass and winds. Russell caught its nonstop energy.

The first half  included the mysterious music that  Williams wrote for “Harry Potter and the Sorcerer’s Stone.” “Hedwig’s Theme” and “Harrys’ Wondrous World” were perfect examples of Williams’ gift for creating mood. The Pops Orchestra captured the magical atmospheres with celesta (Julie Spangler) and eerie string glissandos.

Russell also showcased collaborations with Steven Spielberg, such as Main Theme from “Jurassic Park” and the “Fying Theme” from “E.T. (The Extra-Terrestrial.” But the showstopper was Theme from “Schindler’s List,” in a new arrangement for cello that Williams created for the occasion. Principal cellist Ilya Finkelshteyn’s performance was both moving and radiantly beautiful. You could have heard a pin drop in the new auditorium.

A cheer went up when Russell launched into music from “Star Wars: Episode I — The Phantom Menace,” of 1999.  The Pops brass shone in blockbuster music such as “Battle of the Heroes” from “Revenge of the Sith” (2005) and Williams’ unforgettable “Imperial March” from “The Empire Strikes Back” (1980), with equally unforgettable contributions from the trombones.

Williams’ jazzy music from “Cantina Band” (“A New Hope,” 1977) was humorous and swinging, and Russell led it exuberantly. Then there were the lyrical, romantic movie moments, such as “Princess Leia’s Theme” from “A New Hope” and “Luke and Leia” from “Return of the Jedi” (1983). Principal horn Elizabeth Freimuth soared through Williams’ sweeping melodies with depth of feeling and stunning sonority.

In the last bars  of the Finale from “The Force Awakens” (2015), the house lights came on, and the crowd surged to their feet. Afterward, many concertgoers left Music Hall to join the throngs of people enjoying Blink, the city’s unprecedented light and art festival covering 20 city blocks through Sunday.

As Music Hall welcomes back its resident companies, each concert of the first five weeks of the season will feature a different performing organization. The season continues on Oct. 20-21 with the Cincinnati Symphony Orchestra in Debussy’s opera “Pelléas et Mélisande,” a collaboration with Cincinnati Opera.

Do you have comments about the performance, the renovated Music Hall or the new acoustics? Let us know by commenting here, or by e-mailing janellesnotes@yahoo.com,